Intrada Soundtrack Forum

Steamroller effect, at least in part. The contributions of Santaolalla, Navarrete and Desplat, whether or not one considers them deserving, may not have registered were they not attached to lionized projects. Consider as well that those composing worthwhile music in "their own back yard" are often hamstrung by association with farragos like The Black Dahlia or misunderstood and inexplicably reviled ventures such as Lady in the Water. (Then again, there's always Howard's surprise nod for The Village to throw a wrench into the works. A good wrench, that is.)

Bottom line: domestic or foreign (which is, after all, a rather limiting distinction to make in what should really be considered an international film community), quality work will out, and I believe your friend is generally correct. There simply wasn't that much to crow about last year on this side of the channel, and if it means tossing out, say, Marianelli's Pride & Prejudice in favor of some James Horner pablum, then please show me the door.

I wish people would just admit that the Oscar nominations are primarily "bonus" nominations for the studios and not really focused on the composers (unless, of course, you're someone well known in Hollywood like a Williams or a Newman - not that their work isn't worthy. A Williams or a Newman will get nominated regardless of whether their film gets other nominations in the major categories).

I mean... look at the nominees every year. They are almost always for scores attached to films that have a few other nominations. And for films released at the end of the year. I don't understand why people can't see this. And act surprised every year when scores for summer blockbusters don't get nominated. There may be exceptions, but generally that is the rule.

If more foreign composers are getting nominated, it's because "art house" and independent films by non-American directors are getting more Oscar noms increasingly every year. It has nothing to do with wanting to honor international composers over American ones, or even about the comparative quality of the work. Those international composers just happen to be attached to those films.

An Oscar nomination, essentially, is great for any composer because it advertises that they worked on an Oscar-nominated film. In that sense it is worth as much or more than an actual Oscar award (aside from any financial benefits a composer might receive from having an Oscar win on his/her resume). But beyond that? It has little to do with personal recognition for a composer and much more to do with awarding a studio or producer with yet another "Oscar nomination" for their film.

On the other hand, the Golden Globes are much more apt to give the award to international composers, not surprising since it is the Hollywood Foreign Press Association. I would have to check to make sure but if you're Italian or French you're gonna have a good chance to win a Golden Globe.

All these nominations and awards have their own unique agendas.

Bullseye, Ellen.

I think that voters just like picking people with foreign names because they feel it makes them seem sophisticated. I mean, doesn't "Gustavo Santaolalla" or "Javier Navarette" or "Alexandre Desplat" sound more distinguised than "Christopher Young"?

Back at ya later